Shure PGA52, PGA56, PGA57 User Manual

WIRED MICROPHONE

PGA DRUM MICROPHONE KIT USER GUIDE

PG Alta™ Drum Microphone Kit

PG Alta Microphones

Congratulations on the purchase of a new Shure PG Alta series microphone. The PG Alta series delivers professional quality audio at an affordable price, with solutions for capturing nearly any source, including voice, acoustic instruments, drums, and amplified electric instruments. Suitable for live and studio applications, PG Alta microphones are built to last, and meet the same rigorous quality testing standards that make all Shure products trustworthy and reliable.

Drum Kit Bundle Variations

4-Piece Kit

(PGADRUMKIT4)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (2) PGA56 drum microphones

• (2) AP56DM mount

5-Piece Kit

(PGADRUMKIT5)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (3) PGA56 drum microphones

• (3) AP56DM mount

6-Piece Kit

(PGADRUMKIT6)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (2) PGA56 drum microphones

• (2) PGA81 overhead condenser microphones

• (2) AP56DM mount

7-Piece Kit

(PGADRUMKIT7)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (3) PGA56 drum microphones

• (2) PGA81 overhead condenser microphones

• (3) AP56DM mount

Note: Availability of specific bundles varies by region. Contact your local Shure distributor for details.

MONITOR

P.A. LOUDSPEAKER

Setting up Drum Microphones

①

②

④

③

X-Y position

Spaced pair position

Before you begin, review these fundamental concepts to get the best possible results:

Tuning: Before recording a drum kit, make sure the drums are tuned. A well-tuned kit significantly improves the sound quality for recording and live sound reinforcement. It also makes mixing and signal processing easier, faster, and more effective.

Placement: Use the proximity effect to your advantage when increased bass is desired. Small changes in microphone placement (distance and angle) strongly impact the sound characteristics. If time permits, experiment with various microphone positions to achieve the preferred sound.

④ Overheads (PGA81)

Overhead microphones capture cymbals and an overall stereo image of the drums. Refer to the stereo microphone techniques section for details.

Overhead microphone tips:

- Pan one microphone to the left and the other to the right on a mixer or in recording software to create a stereo image

- The farther the left and right signals are panned, the wider it will sound

- Overheads can be panned from the audience or drummer's perspective, depending on preference. Pan the toms to match the overhead panning for an accurate stereo sound.

- Other stereo drum recording techniques to learn about include the Glyn Johns method, Recorderman, and Mid-Side.

- Additional information on recording drums and microphone techniques is available at shure.com

Proximity Effect

Directional microphones progressively boost bass frequencies as the microphone is placed in closer proximity to the source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound.

Avoiding Pickup of Unwanted Sound Sources

Place the microphone so that unwanted sound sources, such as monitors and loudspeakers, are directly behind it. To minimize feedback and ensure optimum rejection of unwanted sound, always test microphone placement before a performance.

① Kick (PGA52)

- Place the microphone in front of the resonant kick drum

- If there is a hole in the head, place the microphone inside

- To reduce the sustain and overtones for a focused attack,

② Snare (PGA57)

- Place the microphone 1-4 inches above the drum, near the

- Point towards the center of the head to capture more stick

- Aim the microphone with the rear side pointed towards the

③ Toms (PGA56)

- Place the microphone 1-4 inches above the drum, near the

- Use the included AP56DM drum mounts to attach the

- Point towards the center of the head for a deeper sound, or

head.

for better isolation. Removing the resonant head and placing the microphone closer the beater head provides increased attack.

try using a pillow inside the kick drum.

rim.

attack, or closer the edge to capture more overtones.

hi-hat to reduce the amount of cymbal in the snare drum signal.

rim.

PGA56 onto the drum. The microphone can also be mounted on a standard 5/8" microphone stand.

closer the edge to capture more overtones.

Recommended Loudspeaker Locations for Cardioid

Microphones

Phantom Power

All condenser microphones require phantom power to operate. This microphone performs best with a 48 V DC supply (IEC-

61938), but it can operate with lower voltages.

Phantom power is provided by the mixer or audio interface that the microphone is connected to, and requires the use of a balanced microphone cable: XLR-to-XLR or XLR-to-TRS. In most cases, there is a switch or button to activate the phantom power. See the user guide for the mixer or interface for additional information.

NOTE: Applies to PGA81 condenser microphones only. Supplying phantom power to the other included microphones will not cause damage.

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